Buy: Fistral Tent

Fistral Tent


Made to fit two people, this inflatable tent is crafted from stiff, weather-resistant polyester. There’s also plenty of room for gear and cooking equipment—and a functional flow-through design means there are two entrances and two vestibules. This……

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Timber-clad painting studio by Open Kaart wraps around an old brick shed

Dutch architecture studio Open Kaart has transformed an old shed in the city of Woerden into a painting studio by enveloping the existing brick structure in a larger timber shell.

The Rotterdam-based practice was tasked with repurposing a simple shed after completing the renovation of the main house and its garden.

Timber-clad painting studio by Open Kaart wraps around and old brick shed

The clients wanted a space to run painting workshops from as part of their business. In addition to an appropriate light-filled studio, the building needed to retain the storage space provided by the previous shed.

The small, uninsulated brick structure had no foundations and a leaking roof, but rather than demolishing it to make way for a new addition the architects preserved it, and incorporated it into the new building.

Timber-clad painting studio by Open Kaart wraps around and old brick shed

“By building on the existing shed, a studio with attic could be realised within a limited budget,” explained architect Pieter Graaff.

“Through the sophisticated detailing, the conservative local requirements are united with the desire to add an elegant building to the cluttered sea of sheds.”

Timber-clad painting studio by Open Kaart wraps around and old brick shed

Three of the original brick walls were retained as part of the efforts to limit costs. The new addition was constructed around them, with the timber volume extending upwards and outwards from brick form.

“The half-stone masonry is maintained, which expresses the relationship between old and new,” Graaff added. “The planks and slats of preserved wood give depth and rhythm to the simple volume.”

The only interruption to the homogenous wooden surfaces are the black-framed sliding glass door and window, which ensure both the studio and attic space receive plenty of daylight and natural ventilation.

The studio’s simple interior is lined with plywood panels that incorporate LED strip lighting, rails for hanging paintings, and an infrared radiator. Electric underfloor heating and an electric boiler ensure the building can operate sustainably.

Timber-clad painting studio by Open Kaart wraps around and old brick shed

The large dormer that extends from the sloping roof accommodates a space which can be used for storage or as a compact lounge area with a view towards the canopy of the nearby tree.

In the future, the building could be extended to accommodate a bathroom and used as a studio apartment by one of the client’s children.

Studios are being built in the gardens of houses around the world. In Lillehammer, Norway, Jon Danielsen Aarhus designed a gabled shed to accommodate the hobbies of a recently retired couple, while in London Eckford Chong added a blackened-timber garden studio to a refurbished house.

Photography is by Rufus de Vries.

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Lingxiao Luo combines 3D-printing and knitwear to create playful garments

Royal College of Art graduate Lingxiao Luo has combined 3D-printing with traditional knitwear techniques to create a series of pieces that evoke the playfulness of children’s toys.

Lingxiao Luo creates playful knitwear using 3d-printing

The knitwear graduate, who has previously worked as a childrenswear designer, wanted to create a series of garments that are influenced by the bright colours and graphics found in toys.

Called AddiToy, the collection uses a method of 3D-printing plastic threads directly onto knitwear.

“This innovation introduces a new aesthetic and zero-waste fabrication to the fashion industry through creating customisable products with unprecedented shapes, structures, materials and textures,” Luo told Dezeen.

Lingxiao Luo creates playful knitwear using 3d-printing

According to Luo, the material has more texture and structure than traditional knitwear fabrics.

To make the pieces, she began by choosing the yarn and deciding what level of tension to weave it to create either a delicate or chunky finish.

“I had to decide whether to work with elastic yarn for a thin and delicate outcome or mix it with other yarns for a thick and chunky outcome,” she explained.

Varying textures were achieved using either joining, felting or twisting techniques, which were all achieved by 3D-printing plastic filaments directly onto the knitwear.

The first method – joining – involves 3D-printing patterns of filaments directly onto the fabric to attach two of her different knitted fabrics together.

Lingxiao Luo creates playful knitwear using 3d-printing

Felting uses 3D-printed patterns of filament directly woven onto loosely-knitted fibre fabric. The fabric is then wet and felted in a process that shrinks the fabric and creates a three-dimensional structure.

Finally, in the twisting technique, a flexible filament is printed onto tightly-knitted elastic fabric. “Because of the elasticity of the fabric, the printed patterns can twist into 3D structure,” said Luo.

Lingxiao Luo creates playful knitwear using 3d-printing

“This new technique has been applied into my MA final collection with several pieces of products, including a book of samples, garments, accessories, and several pieces of perfume prototypes,” she explained.

“In the future, AddiToy can provide technical service to design studios for using this technique and products into their collections.”

Luo showcased her designs at the Royal College of Art MA Fashion show. Other graduate coverage includes 10 standout collections from the London College of Fashion’s 2018 graduate show, and eight collections from Antwerp’s 2018 fashion masters.

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Hitomi Hosono reinterprets classic Wedgwood ceramics with intricate botanical designs

Hitomi Hosono explains how she combined British and Japanese aesthetics to create a collection of ceramics for Wedgwood in this video Dezeen filmed at their factory in Stoke-On-Trent.

Hosono, a ceramicist from Japan known for intricate porcelain pots featuring botanical decorations, designed the collection in collaboration with Wedgwood, after being invited to take part in the brand’s artist in residence program.

Hitomi Hosono's ceramics collection for Wedgwood

The collection is comprised of vases, bowls and ornamental boxes in an unglazed matte finish typical of Wedgwood’s signature Jasperware – a kind of stoneware developed by the brand’s founder Josiah Wedgwood in the 18th century.

Jasperware products typically employ relief decorations of human figures and natural forms known as sprigs, which are cast in clay molds and added to the pots.

Hitomi Hosono's ceramics collection for Wedgwood

“Sprigs are like thin leaves made of clay,” explains Hosono in the interview. “I chose jasper sprigs from Wedgwood’s archive and applied them in a new way on the pots, with a Japanese aesthetic.”

While Wedgwood’s vases normally combine botanical imagery with figures from classical mythology, Hosono chose to foreground nature in her work with the brand. “For this project, I wanted to take nature itself and give it a main role on the pieces,” she says.

Hosono’s pieces feature archival Wedgwood sprigs, such as daisies and ferns, arranged in overlapping and cascading forms.

“In Japanese aesthetics, things are placed as they exist in the natural world,” she claims. “When you see the flowers, they’re overlapping, or look like they’re falling. There’s more movement.”

The ceramicist first came into contact with Wedgwood after working for them as an intern during her time as a student at the Royal College of Art in London in 2008. “The biggest inspiration working with Wedgwood was looking at the archives, and this deep history making art pieces,” she explains.

Hitomi Hosono's ceramics collection for Wedgwood

Wedgwood has been challenging its reputation as a traditional brand by collaborating with artists and designers to reinterpret its archive.

Hosono’s collaboration with the brand follows a project between Wedgwood and Lee Broom, who created a collection of postmodernism-inspired ceramics for the brand last year.

“I think they’re a traditional brand, but now they’re very willing to collaborate with new creativity, and they’re very open to new ideas,” Hosono claims.

Wedgwood was founded in 1759 by craftsman and potter Josiah Wedgwood. The brand has become known for its fine bone china dinnerware, tea ware and iconic Jasperware pieces, and has previously collaborated with designers including Vera Wang and Jasper Conran.

The collection will be on show at art dealer Adrian Sassoon’s stall at the Masterpiece art fair in London from 28 June to 4 July.

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Polymega

Polymega(TBA) is the world’s first modular hd retro game system. Essentially a sectional library storage system, the unit comes with interchangeable parts for NES, SNES, Genesis, Neo Geo, Sega CD and PlayStation titles. Just insert a module for a system you love, plug in a game and controllers and start playing using Hybrid Emulation technology. Supported Element Modules in the launch window will include NES, SNES, Genesis, TurboGrafx-16, and more…(Read…)

The Biggest Driving Mistakes And Bad Habits

We have a long way to go before driverless cars and In the meantime, we discuss the worst driving habits, behaviors, and annoyances of modern drivers.  In the video we detail common mistakes and how to avoid them…(Read…)

A Different Kind of Dyson

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The funny thing is, when I first saw this, I thought, “Hey! This coffee maker looks like something Dyson would make.” Sure enough, that’s exactly what it is. Only, it’s from the clever minds at Metafora Design Team and it’s their interpretation (not Dyson’s) of what a home brewing system might look like if Dyson created one.

They’ve hit the nail on the head with that tubular form, familiar oval accent lighting, and window into the inner workings of the design. Like many of the brand’s notable products, it feels more engine than appliance which only adds to its aesthetic appeal. Would you be down with a Dyson coffee maker? Let us know in the comments!

Designer: Andrea Pedulli, Simone Chiani, Metafora Design Team

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Vintage Alfa Romeo Shot in the Desert

Patrick Curtet est un artiste français basé à Los Angeles, particulièrement versé dans la photographie automobile. Pour cette série « DROPPED ALFA », le photographe met en valeur l’Alfa Romeo 105 GTV 1974, survivante au milieu du désert et de l’apocalypse, reconstruite de presque zéro à l’initiative des jumeaux Iliya et Nikita Bridan. Patrick Curtet et son œil photographique y incorporent l’aventure, la solitude dans le sable chaud sous le soleil écrasant et l’amour de la belle mécanique. Découvrez le reste de son travail sur son site et son Instagram.

 

 





Phoebe Sayswow Architects creates 33-square-metre guest house in Tapei

Built-in birch wood storage and glazed white tiles with contrasting pink grout feature in this small one-bedroom apartment, in Tapei, Taiwan

XS House by Phoebe Sayswow Architects

Located in a 12-floor residential tower in Tapei, the 33-square-metre apartment is a prototype for a tiny metropolitan guest house that can be leased to people working in the city.

“Part of our clients’ focus is real-estate investment and they approached us hoping to showcase a model of smart urban living in a city with high average rent and limited land for developments,” Phoebe Sayswow Architects told Dezeen.

XS House by Phoebe Sayswow Architects

Designed to be gender neutral, the XS House is spread over three levels in an open-plan space.

A double-height living room sits level with the entrance, a kitchen, dining room and bathroom are accessed down a set of two steps, and a bedroom is located on a mezzanine level above.

“We decided to add the mezzanine to more effectively utilise the given space,” said the architects.

“The structure and position of the mezzanine was carefully planned to minimize its volume and visual blockage. The room is just too small to waste a single inch.”

XS House by Phoebe Sayswow Architects

The white ladder that connects the living room to the mezzanine level is mounted on castors and can be moved to allow access to the built-in grid of birch shelves and cupboards that line one side of the apartment.

“We conceived a movable ladder and a step bench to connect different levels while giving a touch of playfulness and a sense of gathering to the house,” the studio continued.

XS House by Phoebe Sayswow Architects

The living room space to the right of the entrance is simply furnished with a two-seat sofa and three-legged side table.

Lined with white glazed tiles, the compact kitchen is built into the wall of birch storage opposite the bathroom.

“Birch wood gives a sense of warmth that calms people, while the white glazed tiles are about pepping up spirits and rinsing one’s mind,” continued the architects.

The tiles line the floor and walls of the bathroom creating a pink grid punctuated by white ceramics and black fittings.

XS House by Phoebe Sayswow Architects

The steps that connect the living room and kitchen/dining room areas double as a place to sit at the circular dining table that is located between the kitchen and the sliding door to the bathroom.

“The three dimensional levels of seating encourages a dynamic conversation within the flat,” said the architects. “Our intention again is to create a cosy and fun living experience.”

XS House by Phoebe Sayswow Architects

Floor to ceiling windows at the far end of the flat provide views out across the city from the kitchen space and from the bedroom on the mezzanine above while also letting light penetrate into the living room area.

On the mezzanine level, a low level bed sits against one wall, while built-in birch wardrobes line the other.

XS House by Phoebe Sayswow Architects

Also working with 33-square-metres, Manhattan studio JacobsChang designed a tiny blackened timber cabin on a shoestring budget for clients who built it in a forest in upstate New York with the help of their friends.

Photography is by Hey! Cheese.

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A desk knife that dares to be different

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Inspired by the Japanese Kiridashi, but with a design that looks nothing like the original, the Craighill Desk Knife is daringly unique, so much so that it looks like nothing you’ve ever seen before.

Just over five inches long and slightly thicker than a half inch, Craighill’s Desk Knife has the proportions of a chunky metal pen, but comes with truncations on its sides to reveal a Kiridashi-style blade where the two truncations taper off. This makes the Desk Knife an absolute treat to hold, as it fits beautifully into one’s grip, and even to maneuver, making for a handy, and suave looking letter opener, box cutter, or scalpel-style paper cutter. Graceful, tasteful, and practical, the Craighill Desk Knife looks and feels remarkably unique, with a design that’s oh-so-simple but equally breath-taking!

Designer: Craighill

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